There are tons of incredible projects live right now, with lots of great people behind them. Any creator can talk about their own project, but we wanted to hear what these folks think about some other projects — the projects they love.
We started by asking Eric Migicovsky — the man behind the hugely popular Pebble Time smart watch —what his favorite live project is.
"I just backed the Spark Electron! Can't wait to get mine. I'm going to hack together a LoJack type thing for my car." Migicovsky's referring to the Arduino-like cellular development kit from another repeat project creator, Zach Supalla and the Spark IO team.
We checked in with Supalla and it turns out he's a huge fan of Piper, a recently launched kids' project that merges play and experimentation. "Kids these days love Minecraft, so an educational toolbox that teaches kids electronics with Minecraft seems like a great way to create the next generation of engineers.”
Mark Pavlyukovskyy and the team at Piper say that they're in love with the constructible cardboard creations of Kids Imagination Furniture. "We think that making things open, hackable and customizable is the future, and this project is making it possible! And what's super awesome is that they are making this for kids to start learning and hacking things in their lives from an early age."
It's no huge surprise that The Cardboard Guys team picked The PlyFly Go-Kart, a CNC-manufactured wooden go-kart. "The PlyFly Go-Kart encompasses everything we love as The Cardboard Guys: it empowers people to become the makers of their own useful creations, it's incredibly well designed and unique, and it's just super rad. Plus, like our furniture, it's a blank canvas for people to paint, modify, and make their own."
From a smart watch to a wooden go-kart — what an incredible roster of projects. We'll check in with the PlyFly team next week to see if we can pick up right where we left off with another round of recommendations.
It's an exciting time to be a documentary maker. Today, we announced Made With Kickstarter, a new showcase of emerging filmmakers over at the New York Times. In celebration, we asked the filmmakers to talk to us about their own documentaries as well as the direction that documentary filmmaking is headed.
All of the documentaries below can be watched over at the Times' video page.
"I was interested in stories behind objects — what a thing can tell us about a person, a place, or a time — specific stories that point to universal truths and experiences. What better place to explore this idea than at the world's longest yard sale? I made a short documentary about a yard sale in LA several years ago. So many weird and wonderful people showed up that day. So when I read about the world's longest yard sale I knew I had to make a film there.
I'm not sure documentaries need to "go" anywhere. In honor of Albert Maysles (who passed away on Thursday, and whom I had the pleasure of knowing), I recently re-watched Salesman. For me, nothing tops that film. It's such an intimate portrait of a human being and his unique experience. Every time I watch it I connect with it in a different way and have new insights. I'm not saying all documentaries should try to emulate Salesman. There are definitely some really interesting experimental and "hybrid" documentaries being made these days. And, of course, contemporary filmmakers are making some amazing direct cinema films. Each filmmaker should do what feels appropriate for them. I can only answer this question for myself and say that personally, I aspire to make a film as intimate, nuanced, and beautiful as Salesman."
"When I first read about Bill's story I was struck at his drive to be the best at whatever he does. He found that he's great at bowling and has spent the better part of his life at being the best that he can be. The night that he was on the path towards a 900 (three perfect games or 36 strikes in a row), which is the event Strike focuses on, was a special moment that I think any athlete or creative can connect with. It's about being in the zone, where everything in the outside world melts away, all of your skills and training fall into place, your focus is razor sharp, and you're just in an unstoppable flow. But as robotic and consistent as you hope to be, we're only human and things don't always go perfectly. That was what I wanted to capture in the film.
It's an awesome time for documentaries. The internet has obviously helped more films find an audience, but even more traditional broadcasters are getting behind docs, like ESPN and CNN. The quality of filmmaking and story telling options has also improved, thanks to really great and really inexpensive camera gear. You can shoot amazing footage with a kit that you can toss into a bag. Aerial shots are cheap. With GoPros you can pretty much stick a camera anywhere you can imagine. Smooth, cinematic shots no longer require a Steadicam rig or giant dolly. And the improvement in technology isn't just about making prettier pictures - with smaller cameras documentary filmmakers can get access to areas where before they would have called too much attention to themselves. We've all got an amazing video production studio in our pocket.
The cost of gear and shooting great images is decreasing while our options in how and where we can visually tell a story and keep an audience engaged is increasing."
"My film was inspired by John Roderick’s memoir “Minka: My Farmhouse in Japan.” I’ve always been drawn to films about memory and storytelling. Reading the book, I fell in love with the idea of their house as a container of memory.
Documentaries will continue to be as exciting, moving and profound as they have always been, in old and new ways. So many brilliant filmmakers are pushing boundaries, expanding the form, and taking risks of all kinds."
"I was in New York on 9/11/01, editing my first documentary. I knew I wanted to try to address 9/11 in a film somehow, but it wasn’t until four years later that the story for The Trees presented itself. I was on the subway and met a friend of a friend who was a landscape architect working on the design of the 9/11 Memorial plaza. I was immediately hooked by the story he told me: Each of the 400-odd oak tress that would make up the memorial grove were symbolically gathered from the areas affected by the attacks — the New York metro area, D.C., Virginia and Pennsylvania. The trees would be grown in giant boxes in New Jersey for five years before being trucked into the city — across the Manhattan Bridge—and planted in time for the 10th anniversary of 9/11/01. And the entire memorial plaza would be one of the largest “green roofs” in the world.
So I set out to make a film that is both an examination of how one thinks about and designs memorials, but also a behind the scenes look at this humongous and exciting construction operation. I also saw film as a way to showcase the engaging, passionate and unheralded landscape architects and arborists deeply involved in rebuilding lower Manhattan. The more I filmed, the more it became clear that The Trees must also explore the deeper themes of how communities mark loss and the way memorials can function simultaneously as vibrant public spaces and places of remembrance within in urban environments.
I do believe that crowdfunding platforms are vital to the future of documentaries. We’ve had some success at our production company getting grants to make documentaries, but it’s very competitive and just feels like the sources have dried up over the years. This is not to say that doing a $52,000 Kickstarter — the amount we raised for The Trees—is easy. Far from it. It was many, many hours of work from a large and dedicated team of people. But we were successful and the percentage that Kickstarter takes as a fee is roughly the same as “fiscal sponsors” take in the grant world. At the same time, the Kickstarter campaign helped us to dramatically build buzz and awareness through social networking and news stories. It even led to conversations with distributers for the film.
So to me, this means that anyone out there with a great story and dedication can bring their documentary to life. They don’t need to enter into the arcane world of grant writing. They can then take their finished film and self-distribute it on something like Vimeo on Demand, which allows the filmmaker to keep 90% of the profits. We all want our films to end up getting bought by PBS, IFC, or HBO, etc., but if they’re not, they can still be seen and filmmakers can try to recoup some costs. That to me is a great thing and makes me hopeful for the future, especially as all of this technology matures."
"When I met Jean and heard her story, a story of a mother whose son who was killed on the streets of Harlem who then co-founded the organization "Harlem Mothers" to fight for other children’s life, I was totally amazed by the heart of this woman. I wanted to tell her story and help her cause any way I could.
I’m happy to see documentary films everywhere I go. They are in cinemas, airplanes, schools, these films are made by everyone today, from professional filmmakers to grannies who want to tell their stories. Maybe one day instead of sending postcards to people will send to each other documentary films they made. It’s like documentaries are becoming a pen to express what is in our hearts. Most importantly, documentary films provide social change in our societies. This gives me the strength to continue making social films."
Documentary filmmaking has always thrived on Kickstarter, and we couldn’t be prouder of all the incredible work that’s gathered funding on the site — we’ve seen films go on to garner widespread acclaim, Oscar nominations, even an Oscar win. Browsing through the best-loved documentaries of any given year always turns up plenty of films we had the privilege of working with.
Starting this month, we’re teaming up with a pretty exciting institution to help share even more of that fantastic work: The New York Times. Over the coming months, The Times will be hosting great short-form documentaries, all made with Kickstarter, on its Times Video page, with a new film taking a turn in the spotlight each week — films The Times has hand-picked to inform, entertain, and broaden the worlds of its readership.
These selections span both the globe and the diversity of filmmaking talent on Kickstarter. Six terrific stories — each running a compact ten to thirty minutes — are ready to watch right now:
The first to be featured is Joey Daoud’s Strike — the story of Bill Fong, an underdog bowler who suddenly begins nailing strike after strike after strike.
Sandy Patch’s The Last Ice Merchant follows Baltazar Ushca, the last of his brothers to make a living harvesting ice from the glaciers of Ecuador.
Making is a great way to learn, which is just one reason we’re thrilled to be partnering with the Children’s Museum of Pittsburgh to help ten schools fund their own makerspaces — a program the museum hopes to turn into a model other cities can adopt. In the spirit of creative making and learning, here are some projects that celebrate the joys of building, inventing, science, and imagination.